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Sonata Theory understands the rhetorical layout of a sonata as progressing through a set of action spaces and moments of "structural punctuation." [8] These action spaces largely correlate with the "themes" or "groups" of the sonata, though each space is differentiated primarily by the unique generic goal that the music pursues within that particular space.
James Arnold Hepokoski was born on 20 December 1946 in Duluth, Minnesota. [1] He earned his master's degree and PhD in Music History from Harvard University, studying with David G. Hughes, John M. Ward, Oliver Strunk and Christoph Wolff, earning his doctorate in 1979 with a dissertation on Giuseppe Verdi's Falstaff. [1]
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In the field of music theory, the term Sonata Cycle refers to the layout of a multi-movement work where the movements are recognizably in the forms of the tradition of classical music. It differs from the term cyclic form in that there is no unifying motive or theme used in all the movements.
The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period ).
Portrait of composer C.P.E. Bach. The older Italian sonata form differs considerably from the later sonata in the works of the Viennese Classical masters. [1] Between the two main types, the older Italian and the more "modern" Viennese sonata, various transitional types are manifest in the middle of the 18th century, in the works of the Mannheim composers, Johann Stamitz, Franz Xaver Richter ...
Elements of Sonata Theory (2006; with Warren Darcy) Sonata theory [212] William Caplin: born 1948 Classical Form (1998) Analysis of classical period music [213] Willie Anku: 1949–2010 "Circles and time: a theory of structural organisation of rhythm in African music" (2000) Studies on African rhythm, particularly using set theory [214 ...
In music, a sonata (/ s ə ˈ n ɑː t ə /; pl. sonate) [a] literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. [1]: 17 The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance.